It is this line of thought that leads to the conception of Iago, Goneril, and Regan, and to the wild outbursts of Timon of Athens.
Macbeth is Shakespeare's first attempt, after Hamlet, to explain the tragedy of life as a product of brutality and wickedness in conjunction—that is, of brutality multiplied and raised to the highest power by wickedness. Lady Macbeth poisons her husband's mind. Wickedness instils drops of venom into brutality, which, in its inward essence, may be either weakness, or brave savagery, or stupidity of manifold kinds. Whereupon brutality falls a-raving, and becomes terrible to itself and others.
The same formula expresses the relation between Othello and Iago.
Othello was a monograph. Lear is a world-picture. Shakespeare turns from Othello to Lear in virtue of the artist's need to supplement himself, to follow up every creation with its counterpart or foil.
Lear is the greatest problem Shakespeare had yet proposed to himself, all the agonies and horrors of the world compressed into five short acts. The impression of Lear may be summed up in the words: a world-catastrophe. Shakespeare is no longer minded to depict anything else. What is echoing in his ears, what is filling his mind, is the crash of a ruining world.
This becomes even clearer in his next play, Antony and Cleopatra. This subject enabled him to set new words to the music within him. In the history of Mark Antony he saw the deep downfall of the old world-republic—the might of Rome, austere and rigorous, collapsing at the touch of Eastern luxury.
By the time Shakespeare had written Antony and Cleopatra, his melancholy had deepened into pessimism. Contempt becomes his abiding mood, an all-embracing scorn for mankind, which impregnates every drop of blood in his veins, but a potent and creative scorn, which hurls forth thunderbolt after thunderbolt. Troilus and Cressida strikes at the relation of the sexes, Coriolanus at political life; until all that, in these years, Shakespeare has endured and experienced, thought and suffered, is concentrated into the one great despairing figure of Timon of Athens, "misanthropos," whose savage rhetoric is like a dark secretion of clotted blood and gall, drawn off to assuage pain.